conspicuously indifferent narrator explains that in 1652 the King of Holland forbade inter-marriage between noble people, based on the findings of doctors who discovered the genetic weaknesses of inbreeding. But aristocrat Eva Van Daam (Gillian Ferrabee), the ultimate narcissist, ignored the decree, opting to make love to her own twin brother. Ultimately, after fearing for her family’s unacceptable way of life, she uprooted to the New World, where her history became forgotten.

Centuries later, pasty Parisian John Strauss (Roy Dupuis) and his wife Kathleen (Kristin Lehman) sail into Maine, where they observe a cemetery having its coffins exhumed due to substandard wood – by order of a cheap contractor, Byrde Gordon (Joanna Noyes). Either the sea or the sights cause John to have a seizure (actually, from blood poisoning), prompting dock worker Alice (Janine Theriault), Gordon’s daughter, to transport them to the closest doctor, a man named Marlowe (Rutger Hauer) – who isn’t exactly qualified anymore for traditional medicine. Although the physician treats the patient, John’s degenerative, congenital disease is on track to kill him – unless Kathleen can trace his mysterious origins and genealogy (back to a secluded Maine island, and possibly the Van Daam clan) to discover a cure.

The start of the film is a bit of a mystery, blended with romantic drama (the melancholy music certainly leans toward moody melodrama), but a creature lurking in a basement and a coffin containing a moving body hint at the film’s looming horror components. And with Dan O’Bannon and Ronald Shusett (of “Alien” fame) serving as writers (apparently borrowing heavily from an H.P. Lovecraft story), unnerving things are bound to happen. Plus, Strauss acts like a vampire, while many of the other townsfolk behave oddly at best.

“Death can be a sweet release.” Brimming with ideas on genetic mutations, grisly flashbacks to grotesque abominations, and scenes of attempted rape, infernal customs, primitive hermaphroditic cannibals (along the lines of “Mindwarp” and “The Descent” – a more complex, graphic take on similar concepts), and other sinister themes, “Bleeders” (later re-named the much less ominous “Hemoglobin”) could have been an effective thriller. But it takes nearly 40 minutes before an abrupt, jarring, impressively horrific attack occurs, and even this is dulled by a prolonged series of unnecessary foreshadowing sequences. Had there been no warning, the big reveal of goblin-like hellions might have been perfectly petrifying. “They’re desperate, they’re mad, and they’re very hungry.”

Unfortunately, some of the revelations aren’t as morbid as they are comical. Even during a disturbing autopsy scene, a much-needed sincerity feels elusive. Mediocre child actors also don’t help, even though their youth should lend to greater scares. But a creepy old woman (guarding an accursed castle), a growing body count, and a bit of bloody violence prove moderately amusing. Perhaps the biggest downfall is the editing and construction of the film; if the opening narration, parts of the introduction, and all of the flashbacks were cut out, the picture could have progressed with more traditional – and more effective – chills. Instead, the pacing is off and the tone is confused, causing the jumpy moments to be spread too thin, allowing for all of the tension to dissipate.

The finale attempts to reclaim a hint of standard monster movie formulas, even when it spirals into a mass, chaotic flight from a couple of stick-wielding imps, some embalmed baby-feasting, and unlikely sex during a rainstorm as the city is evacuated. But the end result (and parting shots) is mostly messy and silly. At least the makeup and creature effects are memorable.

– Mike Massie